My work is driven by two forces: a deep attachment to place and a passion for the visual effect of
light on our everyday surroundings. Whether it is the morning sunlight inside my house, late
afternoon light on clapboards or house lights spilling over snow at night, my convictions about
human connections to landscape shape an image of the specific light in that place and moment.

Much of my artwork can be seen as a faithful description of particular buildings, hills or fields,
but it is all made to express the juxtaposition of the finite and infinite. As a child walking home from
school I was touched by the exquisite poignancy of the late afternoon light. I came to call that
moment of the day the “switching time” because it seemed to provide a gap in my usual perception
of time: a space in which the past and future felt more fluid and present. Later I understood it as a
moment when my own mortality was mirrored by that of the day, yet when infinity was also keenly
present.